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&ArtArt History

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LETTER FROM  the Chair

Dear Alumni and Friends of the Department:

I'm delighted to greet you as returning Chair of the Department of Art & Art History, as we look forward to an exciting and eventful year. We are trying out this e-newsle!er format as part of an e"ort to “go green,” saving paper and also printing costs in a time of #nancial watchfulness. Please let us know how we might improve it and be!er communicate with you in this and other formats.

We are starting the year o" with a celebration of the creative work of our artists, designers, and #lmmakers, on view in the Cantor Arts Center exhibition "From $eir Studios” until January 3, 2010. It's an impressive display of the diversity of media and themes explored by our faculty, who are also presenting weekly talks on their work and careers at the Cantor Arts Center. We are privileged to have such a distinguished group of dedicated

artist-teachers in our midst. I hope you will take advantage of this chance to get acquainted with our newer faculty members, and to follow the unfolding careers of our established artists and #lmmakers. $e work of our newest colleague, Professor of Painting Xiaoze Xie, is also represented in the show. We are especially pleased to welcome him to our faculty and look forward to his contributions to our art practice programs.

Among our ongoing lecture and exhibition programs, which you can follow on our website are a couple of special events. On November 13-14, 2009 the Department was host for "A Great American $ing," an interdisciplinary symposium in honor of Wanda Corn, recently retired from our faculty. Wanda was past Chair of the Department, Director of the Stanford Museum, and Director of the Stanford Humanities Center, and a driving force in building our program in American art history. I know many of you will have enjoyed her teaching, curatorial projects, and writing over the years, just as we all have bene#ted from her leadership and sage counsel. Many of her former students were presenters at the conference, a rich testament to her success as teacher and advisor. In welcoming Wanda back to campus, we all join in saluting a distinguished career.

On the weekend of February 19-21, 2010, Stanford will host an international symposium and associated performance events in conjunction with an important exhibition of modern

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exhibition, and research activities of the institution to the highest standards. A distinguished Géricault scholar, he received both the Mitchell Prize for the History of Art and a Charles Rufus Morey Book Award of the College Art Association in 1983 for his book Géricault: His Life and Work. Since his retirement, Lorenz continued an active program of research and publication. All of us in the Department and in the arts community at Stanford owe him a tremendous debt of gratitude. We remember him with fondness and respect.

Sincerely, Richard Vinograd Christensen Fund Professor in Asian Art and Chair

Chinese ink painters that opens at the Cantor Arts Center that week. Scholars, artists, and performers will explore the status of painting, calligraphy, photography, #lm, music, and drama amidst the turbulent political and cultural landscape of early 20th century China.

In closing, we remember and celebrate the lives of two remarkable contributors to the Department. We salute the extraordinary generosity and friendship of the late Ruth Levison Halperin, who passed away late last year. With her husband Robert, Ruth endowed two chair professorships in the Department, in art history and in photography. In addition, the Ruth Levison Halperin Fund supports research and creative activity by our faculty and graduate students through grants for publications, travel, materials and equipment, in ways that are manifested throughout the entire range of our scholarly and creative e"orts. Her contributions remain vital to our work, but Ruth will be missed as much for her energy, passion, and dedication to excellence that serve as a continuing inspiration to us all.

Lorenz Eitner, Osgood Hooker Professor in Fine Arts emeritus, passed away last March. Lorenz was the guiding force in building the Department of Art to a position of eminence during his long tenure as department chair, from 1963 until his retirement in 1989. He also served as long-term volunteer Director of the Stanford Art Museum, shaping the collection,

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FACULTY Update

T!""# B!"$%!", Assistant ProfessorTerry Berlier recently received the Kala Art Institute Fellowship for 2009-10 which includes a residency and stipend, culminating in an exhibition in July 2010 in Berkeley. She spoke at the conference “Re-viewing Black Mountain College” on October 2009 at the University of North Carolina, Asheville and will be giving a Visiting Artist Talk at the Savannah College of Art and Design, Atlanta, in January 2010. Berlier is an interdisciplinary artist who works with sculpture, installation, sound, video, and drawing. $ese works are o%en interactive and she is currently working on translating ‘tree-cookies’ (cross sections of wood from trees) through sound sculptures by visually correlating the tree-rings’ data with the spiral grooves of a vinyl record. Her work has been shown in solo and group shows both nationally and internationally in San Francisco, Oakland, Berkeley, Davis, Sacramento, Barcelona, Venice, Meinz, Tel Aviv, and Cincinnati. She received the Visions From the New California residency for 2009 at the Exploratorium in San Francisco. Berlier is teaching two new studio based sculpture courses this year: Ecology of Materials (fall) and Kinetic Sculpture (spring) in addition to her regular Sculpture I class (winter). She also likes the challenge of working with the highly talented graduate students in the M.F.A. program at Stanford. &

E&"%'(! C)*+,#*, Professor In fall 2008, Enrique Chagoya visited the art departments of Vanderbilt University in Nashville, Tennessee, and the University of Minnesota in Minneapolis to lecture on his work and give critiques to graduate students. His work and interview with editor Peter Nesbe! were featured in the September/October 2008 issue of Art on Paper. In January 2009, he had a solo show of multiples and prints at George Adams Gallery in New York. In February, he had a solo show of recent paintings and drawings at Lisa Se!e Gallery in Sco!sdale, Arizona, and was part of a major print show at the Museum of Contemporary Art in Denver, Colorado. In March, he had another solo show at the Anderson Gallery at the University of Bu"alo, New York, and a two-person show with Jane Hammond at Columbia College in Chicago. He was one of the keynote speakers at their Southern Graphics Conference that was simultaneous to the exhibition. In April, he worked on two new etchings at United Limited Art Editions in Long Island, New York. In May, he had a solo show of multiples at Electric Works in San Francisco and made an edition of slot machines with his designs all around. In June, he was part of a group exhibition at the Museum of Modern Art in San Francisco. In August, he did a limited edition lithographic book in Lyons, Colorado. In September, he started a project with Philagraphika print festival in Philadelphia to make a print based on the print collection of the Rosenbach Library and Museum in September. Most recently, Chagoya lectured

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at Purchase University in New York and opened a solo show of new works at New York’s George Adams Gallery. Currently, he has a solo show in Palo Alto at Smith-Andersen Editions of monotypes through December and is in a group exhibition “Treasures of the Mexican Museum” at the Palo Alto Art Center. A new book by McSweeney's publishing company will include many reproductions of his work with an extensive interview by Jesse Nathan. &

P*($ D!M*"%&%-, Professor Paul DeMarinis was awarded the D.A.A.D. Berliner Kunstlerprogramm Fellowship 2009-10. His new work “Dust” (2009) premiered in a group show “Likenesses” at the Ma!ress Factory in Pi!sburgh, Pennsylvania, which opened in October 2009. He has upcoming lectures at'FAMU (Film & Media School) in Prague, Czech Republic, and UDK Art University in Berlin. &

M,".!& S.!!& H*&-!&, Assistant Professor In the academic year 2008-09 Morten Steen Hansen completed the book manuscript In Michelangelo’s Mirror: Mannerism and Imitation as Argument and submi!ed it to a university press, which sent it out for peer review. A small conference took place in February that he arranged in a(liation with the Center for Medieval and Early Modern Studies entitled “Revisiting the Periphery: Sicily and the Arts.” On that occasion he gave a lecture on anti-classicism in Polidoro da Caravaggio’s Messinese

production, and in March he lectured on a related topic at the annual conference of the Renaissance Society of America, this year held in Los Angeles. In January he spoke on Pellegrino Tibaldi’s frescoes from the Odyssey at “Performing Homer: From Epic to Opera,” an interdisciplinary conference hosted by the Department of Music at Princeton University. &

M*/ K*)&, Professor Ma! Kahn’s solo exhibition “Ma! Kahn: Artist and Educator” was on view from May 8 to July 12, 2009 at the San Francisco Museum of Cra%+Design. $is exhibition was a survey of more than 60 of his most accomplished works in various media – from painting and sculpture, to textiles, metalwork, furniture design, and interiors. &

J*& K"*0%.1, ProfessorJan Krawitz is in the process of editing Perfect Strangers, a #lm about altruistic organ donation that she shot last summer. She a!ended the CILECT Congress in Beijing last fall where she presented a lecture on ethical issues in student #lms to an international audience of #lm professors. During the past year, she was an invited participant in the Mentoring Project, a collaboration between the Southwest Alternate Media Project in Houston and Ibero-American University in Mexico City. She was also selected for a visiting artist residency at $e Evergreen State College and was one of 12 international mid-career #lmmakers chosen to participate in Doc Lab at the Hot Docs

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Festival in Toronto. Krawitz’s #lm Big Enough was screened at a #lm festival in Moscow and has been broadcast internationally in 12 countries. Her earlier #lms Li!le People and Drive-In Blues were included as case studies in the 2009 book Archival Storytelling. &

P*2!$* M. L!!, ProfessorPamela M. Lee continues to teach, lecture and publish widely on the art historical intersections between the Cold War, postmodernism, and globalization. Last year she gave keynote addresses at the annual meeting of the Association of Art Historians of Australia and New Zealand, an interdisciplinary conference on the concept of medium-speci#city and expertise at Tel Aviv University, and the Graduate Student Conference at Duke University. She also presented material at the Ge!y Research Institute, Yale University, the annual meeting of the College Art Association, Los Angeles, and the Clark Art Institute at Williams College. Among other publications, her writing appeared last year in Artforum, October and Parke! as well as the catalogue for the Yokohama Triennial, Japan. A Spanish-language translation of her book Chronophobia is forthcoming from El Centro de Documentación y Estudios Avanzados de Arte Contemporáneo. Lee was named a member of the Board of Advisors of $e Center for Advanced Study in the Visual Arts, National Gallery, Washington, D.C. &

P*3$! L!3%, Assistant ProfessorPavle Levi spent the 2008-09 academic year in Europe, lecturing, participating in conferences, and researching his new book on the relationship between avant-garde cinema, literature, and other arts/media. He gave a series of invited lectures in Croatia, Serbia, and Bosnia and Herzegovina, presented his work at conferences in France and Slovenia, and promoted the Serbo-Croatian translation of his book, Disintegration in Frames, across the former Yugoslav lands. $e book received much critical a!ention and was widely reviewed in print, radio, and television. Levi published a number of essays on the politics of post-Yugoslav cinema and helped organize the 50th anniversary symposium on Alfred Hitchcock’s Vertigo held in the Stanford Humanities Center. In 2008-09, Pavle Levi’s scholarship was supported by the Wiiliam H. and Frances Green Faculty Fellowship. &

M%4)*!$ M*""%&*&, ProfessorDuring the 2008-09 academic year, much of Michael Marrinan’s professional activities were supported by research grants from the Department. In July 2008, he traveled to Paris to present a paper at the International Word+Image Conference with #nancial help from the Halperin Fund. Marrinan’s long-awaited book, Romantic Paris: Histories of a Cultural Landscape, 1800-1850, was published in March 2009. A grant from the Halperin Fund helped to o"set the cost of producing the nearly 175 illustrations in that book. Finally, the same Halperin Fund

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will make possible colorplates for a book called "e Culture of Diagram, which Marrinan has co-authored with John Bender (English), that will appear in February 2010. Marrinan’s other activities include public lectures at the Cambridge (UK) Center for Research in the Social Sciences and Humanities (October 2008), at Humanities West in San Francisco (April 2009), and at the Mechanics Institute of San Francisco ( July 2009). &

J*2%! M!$.1!", Assistant ProfessorJamie Meltzer’s last feature-length documentary Welcome to Nollywood aired on PBS, as part of a new series called “AfroPop,” and continues to travel around the world, most recently in Poland at a series of screenings put on by the AfryKamera festival. He recently completed a short documentary entitled La Caminata (www.lacaminata.com). $e #lm explores the struggles of a small town in Mexico where they run a simulated border crossing event (700 miles from the real border) created to a!ract tourists and as a way to raise awareness about the di(culties of the real journey. $e #lm premiered at True/False Film Festival in March, played as part of the Silverdocs Film Festival in June, and continues to make the #lm festival rounds. A documentary project in development (a co-production with Nollywood director Izu Ojukwu), recently received support from the Hellman Faculty Scholar Fund. &

B%--!"* P!&.4)!3*, Assistant ProfessorBissera Pentcheva’s forthcoming book Sensual Splendor: Space, Ritual, and the Senses in Byzantium (Penn State Press, 2009-10) won a Millard Meiss publication grant. Her new research focuses on psychoacoustics (experience of sound in space) in Byzantine architecture; she has presented parts of this work at Stanford SiCA, Ludwig Maximilians Universität, Munich, Freie Universität, Germany, and the Max-Planck Kunsthistorisches Institut, Florence, Italy. As the director of the Undergraduate Medieval Studies Program, Pentcheva organized together with SiCA, CREEES, and CMEMS a concert of Byzantine chant, performed by Cappella Romana at Memorial Church. $is event was well a!ended by both the Stanford and local community. In collaboration with Professor Robert Harrison, she organized a symposium entitled “$e Descent of Grace: Art, Nature, and Religion.” &

K"%- S*2(!$-,&, ProfessorIn summer 2008, Kris Samuelson went to Tokyo to begin researching and #lming a new #lm, An Abundance of Crows. $is production trip was partially funded by the Ruth Levison Halperin Fund in the Department of Art & Art History. She completed her term as Department Chair in 2008-09 and will be on a year-long sabbatical this academic year. She and her husband John Haptas have received a US-Japan Creative Arts Fellowship and will be back in Japan from January to July 2010 to continue work on their #lm. &

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R%4)*"5 V%&,+"*5, ProfessorRichard Vinograd contributed essays to several Chinese art exhibition catalogue projects this year, including “Brightness and Shadows: $e Politics of Painting at the Ming Court,” for the Power and Glory: Court Arts of China’s Ming Dynasty at San Francisco’s Asian Art Museum (2008); “A%erlives: Image and Identity between Jin Nong and Luo Ping,” for Eccentric Visions: "e Worlds of Luo Ping (1733-1799) exhibition catalogue (2009), now on view at the Metropolitan Museum of Art in New York; and two essays “Modern Passages: Chinese Ink Painting in an Era of Transformation” and “Facing the Modern: Wu Changshuo and the Spaces of Portraiture,” for the upcoming "Tracing the Past, Initiating the Future" exhibition opening at the Cantor Arts Center in February 2010. Several of his essays on art historical methodology and historiography appeared this year: “Copies, Methods, Histories: A Discussion of East Asian Art with Richard Vinograd,” in In Relation: Chicago Art Journal (2008); “Narrative and Metanarrative in Chinese Painting Studies,” in Stones #om Other Mountains: Chinese Painting Studies in Postwar America (2009); “$e Ends of Chinese Painting,” in "e History of Painting in East Asia: Essays on Scholarly Method (2008); and “Decentering Yuan Painting” in a forthcoming special issue of Ars Orientalis (2009), on New Directions in Yuan Painting. He served as a visiting professor in the Department of Art and Art History, University of Colorado, in April 2009, and presented papers at scholarly symposia at the Asia Society, New York City, $e University of Chicago, the Asian Art Museum of

San Francisco, Harvard University, the St Louis Art Museum, the University of Michigan, Yale University, and the Institute of Archaeology, Beijing from May 2008 to May 2009. With generous assistance from the Christensen Family Gi% Fund for Oriental Art, Vinograd took current Ph.D. students to a!end the international symposium and exhibition of Ningbo Buddhist Painting at the Nara National Museum in early August. &

G*%$ W%+)., Associate ProfessorGail Wight was invited to be the 2009 Imprint Artist in Residence at the San Francisco Center for the Book. $e resulting artist book, Restless Dust, will be released this December.'She was also invited for a residency with Artists in Archaeology in summer 2009, to work with excavations at Stonehenge and with the Stonehenge collection at the Salisbury Museum, to create a commissioned work for the museum’s permanent collection. She exhibited work at Rhode Island School of Design, Brown University, Or Gallery in Vancouver, Ulrich Museum, Kansas,'UC Santa Barbara,'the de Saisset Museum,'Sonoma County Museum, the San Jose Museum of Art, and the San Jose Institute of Contemporary Art. She was a visiting professor in March 2009 in the School of Fine Arts at Kingston University, UK, as part of a teaching exchange with Stanford visiting artist'Julie'Myers. She served as keynote speaker for “$e Limits of Knowledge” symposium at UC Santa Barbara’s Department of Art History.'Wight received the Hoagland'Award for Innovations in Undergraduate Teaching

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with Professor Elizabeth Hadly (Biology), for'their joint project'“Along the Track of the Yellowstone Hotspot: Fusion of Art & Science,” taking place in spring 2010. She received SiCA funding on a joint venture with Professor Kim Anno from the California College of Art, for a very successful three-day conference, “Rising Tide: $e Arts & Ecological Ethics,” which will be featured in Sculpture Magazine this coming spring. &

B"#*& W,$6, ProfessorA%er completing American Encounters: Art, History, and Cultural Identity, a co-authored textbook for college students, Bryan Wolf has re-embarked upon a project postponed while writing the textbook. His new manuscript, "e Dream of Transparency, focuses on the origins of liberal belief in the 18th century and its relation to visual culture. Beginning with British painter Joseph Wright of Derby and concluding with art of the late 20th century, the book explores the way that seeing functions historically to a(rm the tenets of liberal belief: that the world is stable and inert, that the individual has agency within that world, that the individual’s relation to the environment forms a seamless whole. Wolf is currently working on a chapter on contemporary African American sculptor Martin Puryear. With Shelley Fisher Fishkin (English and American Studies), Wolf team-taught a freshman lecture course on American Memory and the Civil War for Stanford’s Introduction to the Humanities program. Lectures focused on literature and painting from the antebellum period to the present. Wolf also continues as the Co-Director of Stanford’s Arts Initiative and SiCA. &

ABOUT Our New Faculty

P R O F E S S O R

XIAOZE XIE

"e Department welcomed Professor Xiaoze Xie in

September 2009.

Born in P. R. China, Xiaoze Xie received his M.F.A. degrees from the Central Academy of Arts & Design in Beijing and the University of North Texas in Denton, Texas. A proli#c artist, Xie has had solo exhibitions at the Sco!sdale Museum of Contemporary Art, Dallas Visual Art Center, $e Danish Art Exchange (Beijing), Modern Chinese Art Foundation (Gent, Belgium), Charles Cowles Gallery (New York), Zolla/Lieberman Gallery (Chicago), Nicholas Metivier Gallery (Toronto, Canada), China Art Archives and Warehouse (Beijing), and Gaain Gallery (Seoul, Korea). He has participated in numerous group exhibitions including “Shu: Reinventing Books in Contemporary Chinese Art” (2006-08) at China

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Institute Gallery (New York) and Sea!le Asian Art Museum, “$e Daily News” (2005-06) at Salt Lake Art Center and Boise Art Museum, and “Regeneration: Contemporary Chinese Art from China and the US” (2004-06) at Brown University, Otis College of Art and Design (Los Angeles, CA), Arizona State University Art Museum, and Williams College Museum of Art (Massachusse!s). Xie’s work has generated signi#cant critical and public interests. His solo exhibitions have been reviewed in "e New York Times, Art in America, Art Asia Paci$c, Chicago Tribune, and "e Globe and Mail. His work is in the permanent collection of the Museum of Fine Arts, Houston and the Sco!sdale Museum of Contemporary Art and the Arizona State University Art Museum. Xie received the Interpreting Brooklyn Project Grant (2008) from the Brooklyn Historical Society, the Pollock-Krasner Foundation Grant (2003), and artist awards from Phoenix Art Museum (1999) and Dallas Museum of Art (1996). In 2006 he completed an Art-in-Architecture commission for the Federal Building and U.S. Courthouse in Davenport, Iowa. Xie is also a Guest Professor at the Tianjin Academy of Fine Arts in China. &'

ABOUT Our LecturersOur four long-term Lecturers continue to make signi$cant contributions to the Department’s Art Practice, Photography and Design programs.

K!3%& B!*&, PaintingKevin Bean began his career as a biochemist at the University of Illinois and in Zurich, Switzerland, before turning his a!ention to painting. $at change of career gives him empathy for students who struggle to choose a deeply ful#lling course of study from their many intellectual options. He studied painting at the Portland School of Art (now Maine College of Art) before a!ending UC Berkeley’s graduate program in 1993. $ere he won the Chancellor’s Award for Excellence in the Arts. He has very diverse groups of paintings because he explores very diverse processes. $ey range from those based on backyard family photographs to culturally-shared images of Abraham Lincoln and Martha Stewart; from atmospheric color-#eld paintings to hard-edged geometric abstractions. Regardless of the obvious di"erences, his ongoing concern has always been with the world of light. In spring 2008 Charles Campbell Gallery exhibited a 20-year survey of his paintings. $at year he was awarded a Pollock-Krasner Grant. Bean has taught at Stanford since 1999 and especially loves Drawing I and Painting I. Former students of his have gone on to graduate programs at Harvard, Yale, and many other wonderful institutions &.

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R,7!". D*0-,&, PhotographyRobert Dawson’s photographs have been recognized by a Fellowship from the National Endowment for the Arts and by a Dorothea Lange-Paul Taylor Prize. His books include Robert Dawson Photographs (1988); "e Great Central Valley: California’s Heartland (co-authored) (University of California Press, 1993); Farewell, Promised Land: Waking #om the California Dream (co-authored) (UC Press, 1999) and A Doubtful River (co-authored) (University of Nevada Press, 2000). He is founder and co-director of the Water in the West Project. Dawson’s photographs are in the collections of the Museum of Modern Art, New York, the National Museum of American Art (Smithsonian Institution), and the Library of Congress. He received his B.A. from the University of California at Santa Cruz and his M.A. from San Francisco State University. He has been an Instructor of Photography at San Jose State University since 1986 and at Stanford University since 1996. &

J,)& E52*"8, DesignAs an Artist in Residence at the Exploratorium in San Francisco, John Edmark created “$e Geometron,” a new exhibit that combines mirrors and video technology to allow the user to create ever changing kaleidoscopic pa!erns on the surface of a large sphere. He was awarded a $20,000 Curricular Innovation in the Arts grant from SiCA for his proposal to create a new course, Design for Exploration, that will teach students the processes involved in designing hands-on interactive exhibits for museums like the Exploratorium. During the summer he

collaborated with Jarek Kapuscinski, Assistant Professor in the Music Department, on an animated #lm entitled Juicy, a series of short vigne!es animating whole fruits, pulp, and fruit juice. Juicy was premiered at the Field of Vision Festival of Animation and New Media in Torun, Poland, in September. &

L(8*- F!$12*&&, PhotographyLukas Felzmann was born and educated in Zürich, Switzerland and holds an M.F.A. from the San Francisco Art Institute. He has taught photography at the California College of the Arts, the San Francisco Art Institute and at Stanford University since 1993. His recent work has been a photographic exploration of the Sacramento Valley as place and as metaphor by documenting a marsh altered through agriculture. In the work, images and ideas about landscape, as well as natural and cultural conditions, intersect. $is work is contained in his second monograph, Waters in Between, subtitled: An archive of a marsh with marginalia by Angelus Silesius and John Berger, Lars Müller Publishers, 2009. An exhibition titled “Ghostpile” opened at the Stanford Art Gallery in November 2008 and a version of it was shown at semina rerum in Zürich in 2009. Felzmann’s third monograph Helix was published by Cavallo Point in 2009. Felzmann also presented “Gull Juju,” a new installation as part of the “From $eir Studios” exhibition at the Cantor Arts Center. Felzmann is interested in all forms of cultural expressions, particularly music, the visual arts, architecture, natural history, and bookmaking. &

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STUDENT & ALUMNI UpdateM%4)*!$ A"4!+* (M.F.A. ’09) and J%&* V*$!&.%&! (M.F.A. ’09) received the prestigious Joan Mitchell Award, given only to 15 national awardees based on their artistic merit. $ey were also awarded the 2008 Murphy and Cadogan Fellowships in the Fine Arts from San Francisco Foundation. Michael Arcega received a year long M.F.A. Studio Award from the Headlands Center for the Arts. Jina Valentine received the Paris Studio Award from Stanford University.

M%8! A/%! (M.F.A. ’09) was the Director’s Choice for Bob’s Knee at the Black Maria Film and Video Festival, and also won the Best Short for the same #lm at the Sebastopol Documentary Film Festival.

A$%4! B*"&!- (B.A. ’06) who played 1st singles for Stanford Women’s tennis while majoring in art history and who was recipient of the Al Master’s Award (the highest honor given to Stanford’s student-athletes) in 2007, entered her third year of medical school at Cambridge University with a likely specialization in oncology.

C)"%- B!$$ (M.F.A. ’07) was the recipient of the prestigious Lee Krasner Award.

N%4),$*- B!"+!" (M.F.A. ’08) was a #nalist for Nutkin’s Last Stand at the Students Academy Awards.

E2%$! B,*8!" (M.F.A. ’10) was a #nalist at the Student Academy Awards and Angelus Film Festival for In Circles.

E$*%&! B(48),$.1 (M.F.A. ’06) received a major grant from the Center for Cultural Innovation.

E$%-*7!.) C!&.!&, (B.A. ’07) spent a year working in New York as a John Gardner Fellow before entering Yale Law School. She was interviewed on NPR in August as one of the three student commentators on the election of Judge Sonia Sotomayor.

Elisabeth Centeno, left, withJudge Sotomayor October 2009

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Y3! C)*3!1 (B.A. ’10) was a Multicultural Undergraduate Intern at the Ge!y Museum in summer 2009, with a concentration in classical antiquities.

J*-2%&! C)%( (B.A. ’08) taught for a year at the American School in London and resumed her study of art history at Oxford in fall 2009.

A$** !$5%& E$ D*9*&% (M.F.A. ’10) was a regional #nalist at the Student Academy Awards and #nalist at the Angelus Film Festival for In Circles.

J!/ F!%& (B.A. ’09) was honored as one of 25 winners of the J.E. Wallace-Sterling Award for academic distinction, shortly before submi!ing his honors thesis in art history.

A$!: F!&&!" (B.A. ’09) began his #rst year at Yale Law School in fall 2009.

M*"%* F,".%1-M,"-! (M.F.A. ’10) was named Student Symposium Fellow at the Telluride Film Festival.

P!.!" J,"5*& (M.F.A ’08) won the Best Short Documentary Award for Artistic Vision for "e First Kid to Learn English #om Mexico at the Big Sky Documentary Film Festival.

M*/ H*"&*48’s (M.F.A. ’09) Used Ma!er was recognized as the Best Environmental Film at the Marin County International

Festival of Short Film and Video. He also was a semi-#nalist for Fossil Fuel Free Film at the Angelus Film Festival.

C*.)!"%&! H*""%- (M.F.A. ’05) was hired as an Assistant Professor of Art at the University of New Mexico.

A2# H%48- (M.F.A. ’05) was hired as an Assistant Professor of Art at the University of Delaware.

A"&,$5 K!2; (M.F.A. ’05) was hired as Chair of the M.F.A. in Visual Studies Program at the Paci#c Northwest College of Art.

C*",$%&* K,&5, (M.F.A. ’10) received the Peter Marino Production Scholarship awarded by the Northern California Chapter of National Television Academy. She was also a #nalist for Garden of Innocence and El Milagro at the Angelus Film Festival.

T-%,& (“S(&-)%&!”) L!&4), (B.A. ’06) entered Stanford Law School in fall 2009.

M!$*&%! L!3# (M.F.A. ’09) received the Best MiniDoc Award for Artistic Vision for "e Secret Life of Beards at the Big Sky Documentary Film Festival.

J(*& L(&*-A3%& (M.F.A. ’10) received the 2009-10 McNamara Arts award from the Hispanic Scholarship Fund. $is is a major award, given to only two recipients in the arts, which will help Juan with his thesis work.

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A"2*&5, M%+(!$!1 (M.F.A. ’10) was included in the 2009 Havanna Biennial.

C)*"$!&! M(-%4 (M.F.A. ’09) received the UFVA Carole Fielding Student Grant and the Student Production Grant from the Caucus for Producers, Writers & Directors Foundation. She also won the Special Jury Award for Roz (and Joshua) at CINE.

T%2 O’H*"* (M.F.A. ’08) received the jury prize for Operation Falcon from the Marin County International Festival of Short Film and Video.

T)!,5,"! R%+7# (M.F.A. ’10) received the Shelly Fay Videography Scholarship awarded by the Northern California Chapter of National Television Academy. He also won the Gold Jury Prize at the San Francisco International Film Festival, was a national #nalist at the Student Academy Awards and semi-#nalist at the Angelus Awards for Close to Home.

E22* S*4)- (B.A. ’08) won a Sand Hill Fellowship through the Haas Center and spent a year working for the Packard Foundation. In fall 2009, she entered the doctoral program at the University of Michigan (Interdepartmental Program in Classical Art and Archaeology) on full scholarship.

J*-,& S(--7!"+ was named the Student Symposium Fellow at the Telluride Film Festival.

V%3%*& W*&+ (B.A. ’05) was awarded an M.A. in art history from the Courtauld Institute in London, won the 2009 Moot Court Competition at Stanford Law School in April 2009 (with Judge Stephen Breyer presiding), and was named Co-President for 2009-10 of Moot Court at Stanford Law School.

A&.),&# W!!8- (M.F.A. ’10) was awarded a #lm honorarium by the Princess Grace Foundation-USA.

"e Department is proud of the accomplishments of our students and alumni. Go to Department News and Alumni to read more about them.

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!"#$%&'()%&*M.F.A Thesis Exhibition, May 2009Photo courtesy of Reed Anderson

HIGHLIGHTS OF  Last Year's Events$e Lectures in Art Series, made possible by funding

from the Cantor Arts Center Membership Board, hosted four visiting lecturers: James Meyer, Emory University (“Entropy as Monument”), Michael Cole, University of Pennsylvania (“Urbanism and Violence in Grand Ducal Florence”), Mary Ann Doane, Brown University (“Screening the Female Face”), and Finbarr Barry Flood, New York University (“$e Trouble with Images: Aniconism, Iconoclasm, and the Representation of Islam”).

Performance artist Ward Shelley, New York-based Brazilian artist Vik Muniz, and London-based artist and lecturer Julie Myers delivered a public presentation and visited with M.F.A students in art practice, as part of the Studio Lecture Series.

$e $omas Welton Stanford Art Gallery hosted a full line-up of exhibitions, starting with Stanford Lecturer Lukas Felzmann’s solo photography exhibition “Ghostpile,” followed by the annual shows of graduate student in art practice (“Very Close to Far Away”–1st Year M.F.A. and “Wunder)ater”–M.F.A. $esis) and design (“Design in Balance”), and concluding with Stanford alum Ben Dean’s “Account.”

$e Film and Media Studies Program continued its successful screenings of short #lms created by M.F.A. students

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in Documentary Film and Video in the fall, winter and spring terms, and sponsored special screenings of Times of Harvey Milk and Decay of Fiction, and a talk by Ice Age producer Chris Wedge.

$e Department and the California College of the Arts jointly hosted “Rising Tide: $e Arts & Ecological Ethics.” $is hugely successful three-day conference, sponsored by SiCA, was an interdisciplinary gathering that looked at the relationship between aesthetics and the green revolution.

$e Christensen Distinguished Lecture, one of the Department’s signature events made possible by a generous grant from Carmen M. Christensen, featured Michael Fried, renowned art historian, art and literary critic, and poet. His talk about the artistic signi#cance of Anri Sala’s Long Sorrow drew an impressive a!endance at the Annenberg Auditorium.

Christensen Distinguished Visiting Lecturer Michael Fried, Photo courtesy of Humanities Center, 

Johns Hopkins University

+%&,-./01%-)0-2(&-34(,* 1st Year M.F.A. Exhibition, January 2009

56%-37% producer Chris Wedge 

» )&Wanda Corn (seated, middle) with her former Stanford art history students

SPOTLIGHT: Wanda Corn

Wanda Corn

A Great American "ing: A Symposium in Honor of Wanda Corn

On November 13-14, 2009, more than 150 family, friends, colleagues, students, and members of the Stanford community gathered at Annenberg Auditorium to pay tribute to Wanda Corn, the Robert and Ruth Halperin Professor Emerita in Art History. Sponsored by the Department, this two-day symposium led by 18 art historians, many of whom were former students she trained, honored her scholarship, pedagogy and valuable contributions in the #eld of American art history. $e event concluded with Professor Corn’s presentation entitled “Mary and Me: Modern Woman, Modern Women.”

During her nearly 30 years of distinguished teaching career at Stanford, Professor Corn also served a term as Director of the

Stanford Humanities Center and another as Acting Director of the Stanford Museum (Cantor Arts Center). She retired from teaching at Stanford in 2008.

Professor Corn remains active as a curator of museum exhibitions, and continues to research, write, and lecture on high, middle and low culture interpretations of Grant Wood’s “American Gothic.” She is now preparing an exhibition and book Seeing Gertrude Stein, Five Stories to be launched in San Francisco and Washington D.C. in 2011.

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Mark your calendar for these featured special events hosted by the Department of Art & Art History. Go to News & Events for complete event listings and details, or to view changes or additions to the events calendar. All events are #ee and open to the public.

January*+ Opening of the *st Year M.F.A. Exhibition (on view

through February +*)+, Art History Lecture–Akira Mizuta Lippit, University

of Southern California (Sponsored by the Cantor Arts Center Membership Board)

February**–*+ Beyond Boundaries Symposium: Mexican photography,

featuring Lourdes Grobet, Eniac Martinez, and Elena Poniatowska (Sponsored by SiCA)

*-–+* Tracing the Past, Drawing the Future–an international symposium on Chinese Art (Sponsored by Cantor Arts Center)

March*. Opening of the Design Exhibition (on view through

April +/)*0 Winter M.F.A. Documentary Film Screening

UPCOMING  Events

April, Art History Lecture–Suzanne Preston Blier, Harvard

University (Sponsored by the Cantor Arts Center Membership Board)

*/ Studio Lecture–Reuben Margolin (Sponsored by SiCA)

May. Christensen Distinguished Lecture–P. Adams Sitney,

Princeton University (Sponsored by a generous grant from Carmen M. Christensen)

** Opening of the M.F.A. $esis Exhibition (on view through June *1)

June** Spring M.F.A. Documentary Film Screening*+ M.F.A. Documentary Film $esis Screening*+ Design $esis Presentations

To get on the mailing list for event announcements, complete the event registration form.

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ART & ARCHITECTURE Library

Greetings and best wishes #om the Art & Architecture Library.

As I look back on the achievements of 2008-09 in light of the economic challenges we face in the next #scal year, I am heartened by the Library sta" ’s commitment to maintaining excellence in our services and collections. And I invite you to visit our new website where we are developing innovative ways to examine the archive of materials we compile at this Library. $e site is not a replacement for physically visiting the Library, for working face to face with our (super!) sta", or for actually handling the unique materials we collect. But these online engagements can preview and extend the experiences that occur in the humanist laboratory that is the Library.

A message from P!.!" B$*&8Head Librarian

$e Exhibitions section snapshots our exhibition program where we present curated selections drawn from our archive. $e New Books page hints at the range of material we collect, and will soon provide lists of all incoming books. Our Notable Acquisitions component focuses speci#cally on our Locked Stacks collection, the core of our local archive. For me, the Research Topics area is the most exciting and most clearly demonstrates our approach to building a visual studies archive, a collection of materials that is not bounded by walls but by ideas. Each research guide presents an array of materials, from general surveys to primary source materials, and suggests that the boundary between what we consider “secondary” sources and “primary” sources shi%s with time and vantage point. $e new web site is a work in process and will soon feature )ip books, podcasts, and an enhanced image section. Many thanks to Anna Fishaut, Assistant Librarian, whose work has brought this initiative from promise to reality, and to Amber Ruiz, Visual Resources Collection Curator, whose sta" has developed much of the digital material we will feature in the next months.

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DONOR Acknowledgment"e Department wishes to thank new and long-time benefactors whose $nancial and in-kind gi%s were received since November 2008. "eir generous support has allowed us to advance our initiatives, invest in resources to meet growing programmatic needs, and provide broad opportunities for our students.

We regret any inadvertent errors. Omissions will be included in the next newsle!er.

IndividualsBarry Power BootheChristopher and Jane BotsfordJorge and LeeAnn CaballeroDavid and Denise ChaseTim Ting-Yi ChuehCha!y CollierKaye Bonner CunmingsClaire DarleyTimothy DraperCaroline FarrarDr. Patricia GamonCinda GillilandJoshua HanerNathan Harris

Leo HolubJames JanecekChristopher JohnsFrances JohnstonChristopher JohnsJacqueline JosephMa!hew KanuckJoan KellyRoss Kei KodaSuzanne Kessler Michele LaGamba-Himmel and Andrew HimmelLaura Lee Nancy C. Lissaman

Eric LutkinRamon and Nance LopezTag and Joan MansourMaria Lisa MartinezNils NilssonMary Ann Odegaard

Edward and Annie Pressman Dr. Judith RohrerLawrence and Patricia RyanAnne Marie SconbergD. Sandra Von LienkeMark Wa!ers

Foundations & OrganizationsAcademy FoundationHans G. & $ordis W. Burkhardt FoundationKite Key FoundationDaniel M. & Mildred H. Mendolowitz

Memorial ScholarshipPrincess Grace Foundation – USA$e Enersen Foundation$e J.M. Kaplan Fund, Inc.$e Roach Family Charitable Fund

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DEPARTMENT STAFF ListADMINISTRATIONElis Imboden, Department AdministratorKelly Ba!cher, Assistant ManagerDanica Sarlya, Administrative AssociateRory Brown, Facilities AdministratorRachel Isip, Events and PR Manager

STUDENT SERVICESJill Davis, Student Services AdministratorZoe Luhtala, Undergraduate Coordinator

FILM AND MEDIA STUDIES TECHNOLOGYMark Urbanek, Senior TechnicianChristian Gainsley, Technical Assistant

LAB MANAGEMENTCraig Weiss, Photo Lab ManagerElisabeth Kohnke, EMA Lab ManagerDan Ti"any, Studio and Sculpture Lab Manager

ART GALLERYMoira Murdock, Gallery and Exhibitions Manager

CONTACT InformationSTANFORD UNIVERSITYDEPARTMENT OF ART & ART HISTORY

Nathan Cummings Art Building435 Lasuen MallStanford, CA 94305-2018

Telephone (650) 723-3404 Fax (650) 725-0140 Email: art_questions@lists.stanford.eduWebsite: h!p://art.stanford.edu